Wayne Charmer, 1979 United Kingdom

For Charmer the draw of glass is to exploit it’s translucent and reflective qualities. Inspired by nature, his signature techniques for his sculptural work are constructed from numerous hand cut glass shards. Whilst heated for several days in the kiln, the sharp edges are softened resulting in layers of melted glass resembling petals and other organic forms.

In his own words ‘I immediately became attracted to working with glass during my time at university, I was drawn to the complex and challenging process of manipulating a material from a solid form to become fluid whilst in the kiln. I aim to capture this fluidity in the final cooling process presenting an organic characteristic to my work . The glass undergoes many transformations whilst firing and the not knowing aspect is part of the attraction.’

Wayne Charmer, 1979 United Kingdom

For Charmer the draw of glass is to exploit it’s translucent and reflective qualities. Inspired by nature, his signature techniques for his sculptural work are constructed from numerous hand cut glass shards. Whilst heated for several days in the kiln, the sharp edges are softened resulting in layers of melted glass resembling petals and other organic forms.
In his own words ‘I immediately became attracted to working with glass during my time at university, I was drawn to the complex and challenging process of manipulating a material from a solid form to become fluid whilst in the kiln. I aim to capture this fluidity in the final cooling process presenting an organic characteristic to my work . The glass undergoes many trans...

For Charmer the draw of glass is to exploit it’s translucent and reflective qualities. Inspired by nature, his signature techniques for his sculptural work are constructed from numerous hand cut glass shards. Whilst heated for several days in the kiln, the sharp edges are softened resulting in layers of melted glass resembling petals and other organic forms.

In his own words ‘I immediately became attracted to working with glass during my time at university, I was drawn to the complex and challenging process of manipulating a material from a solid form to become fluid whilst in the kiln. I aim to capture this fluidity in the final cooling process presenting an organic characteristic to my work . The glass undergoes many transformations whilst firing and the not knowing aspect is part of the attraction.’